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Further readings for the Canon EF 24-70mm f/2.8L II USM

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With a full-frame 18-Mpix CMOS sensor and twin Digic 5+ processers that’s capable of continuous bursts of up 12 fps – the fastest of any professional DSLR currently - the Canon EOS-1 Dx is the firm’s flagship press camera. We’ve assessed it with over 100 EF mount lenses, to see how well they perform. Read on to find out which models are the best optically and which, if any, you should avoid.

After the runaway success of the full-frame 35mm f/1.4, Sigma is taking the initiative with this new ultra-high speed, pro-level standard zoom designed for APS-C format cameras. The specification is particularly promising, but does it mean the end of fixed focal lenses for APS-C? Read on to see how well this cutting-edge model performs in our labs.

In the lead up to Photokina 2012, Canon announced the new Canon EOS 6D full-frame entry-point model within days of Nikon publicizing their most-affordable full-frame camera to date, the 24-Mpix D600. While the EOS 6D boasted some attention grabbing features including built-in WiFi and GPS and slightly undercut the Nikon on price, it couldn’t match its rival in one or two key areas, namely the less populated AF system and lower resolution sensor.

With its compact and lightweight body, the Canon EOS 100D / Rebel SL1 / Kiss X7 is the smallest DSLR in the firm’s line-up. While it adopts a similar performing sensor to the EOS 700D, the body is around 25% of the size of that model by volume and presents its own set of challenges when selecting lenses for it. In this review, we’ve taken a look at the optical quality of 130 different lenses fitted to the camera but this time we’re also making some limited recommendations about the handling and video capabilities.

After comparing the imaging chain of the full-frame Canon EOS 5D Mk III across a raft of lenses, we’ve now turned our attention to the APS-C format EOS 700D / REBEL T5i / Kiss X7i. The 18.1-Mpix ‘Hybrid CMOS’ sensor in this camera is similar to those of the same size and pixel count used in the firm’s other models, including the semi-pro EOS 7D, so it may still be of interest even if you don’t own a EOS 700D / REBEL T5i / Kiss X7i.

The Canon EF 24-70mm f/2.8L II USM is the kind of lens that's always going to be held up to high scrutiny - it's the company's flagship standard zoom for professional photographers, and is expected to deliver top-notch results under all conditions. Happily, that's exactly what it does.

Announced in February 2012, the Tamron 24-70mm f/2.8 lens Di VC USD is the latest full-frame, fast aperture standard zoom from the Saitama, Japan-based optical firm and is the first of its type to add VC (Vibration Control) image stabilization. Costing $1299 and available in Canon, Nikon and Sony fittings (the latter albeit without VC) and featuring USD (Ultrasonic Silent Drive) technology, it’s an obvious alternative to the pricier offerings from the top-names. Could this lens be a contender in the IQ stakes? Read on to find out.

Introduced in November 2012 as the proposed ‘kit’ lens for the EOS 6D, the EF 24-70mm f/4L IS USM lens represents an interesting move for Canon – despite two well respected lenses in this category, the EF 24-70mm f/2.8L USM and the EF 24-105mm f/4L IS USM, the EF 24-70mm f/4L IS USM hopes to offer a compact, lightweight lens suitable for the newly created lightweight, full-frame camera segment. The red L-series band offers the promise of professional performance, but does it live up to the expectations?

Introduced in February 2012, the EF24-70mm f/2.8L II USM is the long-awaited update to Canon’s pro-grade standard zoom and replaces the highly regarded EF24-70mm f/2.8L USM. Designed with the objective of improving image quality and providing greater durability for daily use with digital cameras, it has a completely revised optical design as well as an enhanced mechanical construction. As full-frame lens, it’s compatible with the firm’s full range of DSLRs including 1.6 (APS-C) and older APS-H (1.3x crop) DSLRs making it an attractive choice to a wide of range users. However, at around $2,500 it’s not likely to be a casual purchase.

Comments

Incredible

result is not credible. look here: http://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=787&Camera=453&Sample=0&FLI=2&API=0&LensComp=618&CameraComp=614&SampleComp=0&FLIComp=2&APIComp=0

First replies for this comment

Re: Could you also provide the sharpness perceptual Mpixel \

I would like to add that it would be nice to see the detailed perceptual Mpixel numbers for the focal lengths and apertures measured of all camera lens combinations. That would give a greater understanding of how to use the lens.

I assume that you have all of this information and it would just be a matter of finding a way to present it.

Re: Could you also provide the sharpness perceptual Mpixel \

Quote:

I would like to add that it would be nice to see the detailed perceptual Mpixel numbers for the focal lengths and apertures measured of all camera lens combinations. That would give a greater understanding of how to use the lens.

I assume that you have all of this information and it would just be a matter of finding a way to present it.

Hello,

You can check the acutance value in the field for each focal aperture measured.P-Mpix is measured for the whole image and would not have a lot of sense for one position in the field.

could you provide the sharpness perceptual Mpixel "numbers" for Canon 70D?

Since in the sharpness P-Mpix graph the same color code is used for > 12 P-Mpixs, could you provide the sharpness perceptual Mpixel "numbers" for Canon 70D for the 5 measured points @ F4 and the 5 measured points @ F5.6? I'd really like to know how good (sharp) the Canon EF24-70mm f/2.8L II USM performs on 70D @ F4 and F5.6

First replies for this comment

Re: could you provide the sharpness perceptual Mpixel \

Hello,

Thanks for your comment. You can check the acutance value in the field for each focal aperture measured.P-Mpix is measured for the whole image and would not have a lot of sense for one position in the field.

First replies for this comment

Re: Suggestion to reveal more into

Hello,

Thanks for your question, we always measure many apertures for one specific focal (min – max –f/2.8 f/4, f/5.6, f/8 etc….)For Sharpness we perform 15 points of measure in the field.About the color scale, you are right, this is something we should improve for the next website version.

Looking at the graph

looking at the final graph , it seem the nikon scored more than 24 and the canon mark II less then 25, but looking at the real measure the nikon scored 24 and the canon 26.i suspect something gone wrong there..